Hiya, Gary - Hello again I should say--Saw you on my current thread today--hehe, loved your comment, just asking how to post. 8-)
Looks like the info I sent you by PM helped you out with posting. Wasn't sure if it did since I didn't hear back from you.
But now I'm listening to prime Mosse - full of the whimsy, unexpected turns and droll humor I well remember from when you were posting here often. AND I have to say this is probably the most interesting, complex, and engrossing piece I've ever heard from you. Really good to get your unique sensibilities back in evidence here at the good ol' Garritan Forum.
Thanks for listening, Randy.
I lost my muse suddenly, but it has returned. Life's strange twists effect our ability to cope...
I listened more to remove un-needed material & reinforce lines than I once did.
Thanks for your comments, Randy.
there is some interesting material in this short piece.
but to me it is underdeveloped.
I particularly love the opening motif (B - E -C), but it feels truncated just as it gets off the ground. I was really hoping for a grander version of it, more extended, developed. It is surrounded by some really intriguing and beautiful harmony.
The B section, on its own, is quite charming. But it doesn't really fit with the A section.
Which in the end would be my most important criticism of the work: it's a bit too choppy and sectional. There is no link between the sections, nothing that ties the material together into "this is one single piece of music".
I'm afraid I really don't like the tango-like 3rd section. I have a particular bias against parallel harmony to start with.
Which is really shame, again because your opening section contains such great potential harmonic and melodic material. It feels as though it is just left behind as the new material enters. I can understand wanting to make sections of a work feel "individual", but for a piece to have any sort of cohesion, there also needs to be some form of link, a thread, that ties the various sections together. Something other than being played in one go.
If I were told that this was a piece composed by 4 different composers, I would believe it. Which, in a way, is a testament to your versatility. But I really think you should reconsider the value of this, and examine more in depth how and where you could build a stronger sense of cohesion within a piece.
For the instrumentation, there are some wonderful textures in the piece. I might have liked to hear a few more "tutti" sections (or at least, a bit more use of as much of the full ensemble as possible) just to get a real sense that this is a piece "for wind ensemble". As it sits, I think that a bit too much of the texture is "chamber music" sized.
Anyway, I hope I haven't offended you with my comments. I figure, why comment if you cannot be honest and give a critique that could benefit the target.
Thanks for listening.
Some very good comments about the piece for me to consider.
I will look at your suggestions and continue to build.
Perhaps the 4 segments could stand alone as vignettes-travel, etc.
I guess this is the homecoming season ... I too just returned after being away half a year! Glad to be back and glad to hear more of your wind pieces; this one is indeed ambitious.
Gary, what would be the instrumentation for this ensemble if performed live? I'm less interested in explicit Garritan samples/instruments (I.E., 2nd solo clarinet), than just the real-life ensemble you had in mind when writing this.
This is a full instrumentation.
parts for 2 fl; 2 oboe; 2 bassoon; 3 clarinets; bass clar; alto div part; tenor & bari sax; 3 trmpt parts; 2 div horn parts; 2 tromb; Baritone & tuba. 2 percussion parts.
Thanks for listening.